Name: The Last Duel
Genre: Drama, History, Thriller
Released: 2021-10-13T00:00:00+00:00
Cast: Matt Damon, Adam Driver, Jodie Comer, Ben Affleck, Harriet Walter

Ridley Scott’s The Last Duel opens with a brutal, sun-drenched clash of armor and steel—a duel so visceral it sets the tone for the entire film. The camera lingers on the sweat-soaked faces of the combatants, the clatter of their weapons echoing through the vast, open field. This is not just a fight; it’s a spectacle of honor, vengeance, and the raw, unfiltered masculinity that defines 14th-century France. Based on Eric Jager’s 2004 book The Last Duel: A True Story of Crime, Scandal, and Trial by Combat in Medieval France, Scott’s film is a historical drama that unfolds as a tale of betrayal, vengeance, and systemic misogyny, framed through the perspectives of three central characters: Sir Jean de Carrouges (Matt Damon), his accuser Jacques Le Gris (Adam Driver), and Jean’s wife Marguerite (Jodie Comer).

Scott, ever the master of sweeping historical epics, delivers a film that is as visually stunning as it is thematically dense. The cinematography, with its rich, earthy tones and expansive landscapes, immerses us in a world where honor is currency and violence is a language spoken fluently by all. The duel scenes are meticulously choreographed, each clash of swords and shield punctuated by Harry Gregson-Williams’s haunting score, which swells with a sense of impending doom. The film’s structural choice to retell the story through three distinct perspectives is bold and effective, allowing us to see how truth is shaped by bias and power. This narrative device is reminiscent of Rashomon, but Scott uses it here to underscore the inherent flaws in a justice system that prioritizes male ego over female agency.

What works best in The Last Duel is its unflinching critique of male violence and the societal structures that enable it. Jodie Comer’s performance as Marguerite is a standout, her portrayal of a woman trapped in a world that refuses to believe her is both heartbreaking and infuriating. The scene where she recounts her assault to the court is a masterclass in acting, her raw emotion cutting through the film’s historical trappings. Comer’s performance is a beacon of truth in a narrative otherwise clouded by male posturing. Adam Driver, too, delivers a nuanced performance as Le Gris, his character a complex blend of ambition and vulnerability. Driver’s portrayal of Le Gris is particularly compelling in the film’s middle act, where we see the squire’s internal struggle between his desire for power and his genuine affection for Marguerite.

Yet, for all its strengths, The Last Duel stumbles in its pacing. The film’s nearly three-hour runtime feels bloated at times, particularly in the middle act, which lingers on political machinations that, while historically accurate, fail to maintain the same tension as the personal stakes of the duel itself. Matt Damon’s Jean de Carrouges is a solid but unremarkable performance, his character often overshadowed by the more dynamic roles around him. Damon’s portrayal of Jean feels one-dimensional at times, lacking the depth and complexity that Driver and Comer bring to their respective characters.

The film’s critique of systemic misogyny is important and timely, but it occasionally feels heavy-handed, as if Scott is checking off boxes rather than allowing the narrative to unfold organically. The shift in perspective towards the end of the film, while narratively interesting, disrupts the momentum built up by Marguerite’s harrowing testimony. This structural choice, while innovative, sometimes feels forced, as if the film is trying too hard to be clever rather than letting the story speak for itself.

In comparison to Scott’s other historical dramas, such as Gladiator and Kingdom of Heaven, The Last Duel lacks the emotional resonance and character depth that made those films so compelling. While Gladiator explored themes of vengeance and redemption with a visceral intensity, The Last Duel often feels more like a history lesson than a cinematic experience. The film’s reliance on historical accuracy sometimes comes at the expense of narrative cohesion, making it feel more like a textbook than a living, breathing story.

That said, The Last Duel is not without its merits. The film’s exploration of truth and justice is timely and relevant, particularly in an era where the #MeToo movement has brought issues of sexual assault and systemic misogyny to the forefront. The film’s unflinching portrayal of male violence and the societal structures that enable it is a powerful commentary on the enduring legacy of patriarchal systems.

In the end, The Last Duel is a film that demands attention but doesn’t always hold it. While its performances are strong and its themes are important, the film’s pacing and structural choices sometimes feel more like obstacles than assets.